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Przedmiot i rzecz

100%

Sosnowska J. M.

Sztuka i Dokumentacja

2016

nr 15

8-16

Poezjosztuka „Bloku”

100%

Sosnowska J. M.

2024

tom 86

nr 3

57-78

The “Blok” magazine, the most important periodical of the mid-1920s visual art avant-garde, has never been comprehensively discussed in terms of its visual content. The focus has been on theoretical matters, on the discussion between Władysław Strzemiński and Mieczysław Szczuka concerning the essence of avant-garde art – its autonomy versus utilitarianism. Yet an analysis of the visual message conveyed by “Blok” indicates that its editor Mieczysław Szczuka considered it important to confront poetic programmes as well. He engaged in a dialogue with the “Almanach Nowej Sztuki” milieu, creating visual equivalents of their poetic programme.

„Blok”, najważniejsze polskie pismo polskiej awangardy połowy lat 20. XX w., nigdy nie został kompleksowo omówiony pod względem zawartości wizualnej. Koncentrowano się na sprawach teoretycznych, dyskusji między Władysławem Strzemińskim a Mieczysławem Szczuką dotyczącej istoty sztuki awangardowej (autonomia versus utylitaryzm). Tymczasem analiza wizualnego przekazu „Bloku” wskazuje, że dla jego redaktora Mieczysława Szczuki ważne było również konfrontowanie się z programami poetyckimi. Prowadził dialog ze środowiskiem „Almanachu Nowej Sztuki”, tworząc artystyczne odpowiedniki ich poetyckiego programu.

Stopy Barbary Radziwiłłowny

100%

Sosnowska J. M.

Konteksty - Polska Sztuka Ludowa

2011

tom 65

nr 2-3(293-294)

252-258

The history of art is full of examples proving that reciprocated feelings were a factor stimulating artistic creativity. In his painting Death of Barbara Radziwiłówna Józef Simmler disclosed the feet of a dying woman - the painter was looking at his wife who acted as a model. This canvas was part of Victorian ambience, characteristic for an epoch when bourgeois morality concealed sexuality but did not obliterate it; sexuality expanded in assorted forms, today difficult to capture and hidden under various cotsumes. An academic, formalistic and historical discourse dimmed the subjectivity of this painting, The fact that it immediately became public property also contributed to this approach. The private sphere became dominated by its historical counterpart, in which the queen’s naked feet became meaningless. The work was extracted from concrete social space, in which art had for centuries a certain place in the history of art, whose formative element was the public collection/musem. This was the onset of the discourse on modernity.

Linda Nochlin – feminizm, realizm i polska historia sztuki

100%

Sosnowska J. M.

2022

nr 47

135-143

Linda Nochlin’s book Realism was published in the United States in 1971. The reasons for its prompt publication in Poland are not known, as in 1974 it did not generate much interest. However, at that time methodological problems similar to those presented by Nochlin began to be addressed in Polish art history. The effects of these activities became apparent only in the 1990s, when feminist art also began to be discussed in Poland.